Tag: Hans Zimmer

ZAINE GRIFF Interview

Born in Auckland to Danish parents, Zaine Griff possesses a musical CV that is impressive, reading like a Who’s Who of popular music.

First a bassist and vocalist with Kiwi rock band THE HUMAN INSTINCT, he left in 1975 and moved to London where he had stints in BABY FACE and SCREEMER before going on to study mime under Lindsay Kemp alongside Kate Bush. As a result, he joined Kemp’s production of a play written by Jean Genet called ‘Flowers’.

In 1979, Zaine Griff launched his solo career with future film music composer Hans Zimmer and ULTRAVOX drummer Warren Cann among the members of his backing band for an appearance at the Reading Festival.

With his Aladdin Sane-inspired persona, he was soon signed by Automatic Records, a subsidiary of Warner Bros who brought in Tony Visconti to produce his debut solo album ‘Ashes & Diamonds’. It spawned the 1980 single ‘Tonight’ but it peaked at No54 in the UK Singles Chart, partly due to an already recorded appearance on ‘Top Of The Pops’ not being shown due to a Musicians Union strike.

It was during these recording sessions for ‘Ashes & Diamonds’ that David Bowie walked in to visit Visconti and was slightly taken aback by the resemblance between himself and Griff. Despite this, Bowie invited Griff be part of the band to record three new versions of his songs for an upcoming appearance on the 1979 Kenny Everett New Year Show.

One of them was ‘Space Oddity’ which later surfaced as the flipside to ‘Alabama Song’ while another was ‘Panic In Detroit’ that later appeared as a bonus track on the Ryko CD reissue of the ’Scary Monsters’ album; the re-recording of ‘Rebel Rebel’ has yet to see the light of day.

The second Zaine Griff album ‘Figvres’ was released in 1982 and saw Hans Zimmer stepping up to the producer role.

It ultimately laid the groundwork for the German musician’s eventual career in Hollywood. Also featuring on the album were Kate Bush and Yukihiro Takahashi from YELLOW MAGIC ORCHESTRA.

Around this time, Griff held an art exhibition of his drawings in London’s Ebury Galley, to which his friend and contemporary artist Mark Wardel also contributed.

Meanwhile in 1983, Griff collaborated on six songs for Hans Zimmer and Warren Cann’s ambitious HELDEN album ‘Spies’ which despite the independently released duet with Linda Allan titled ‘Holding On’ being issued as a single in advance, remains officially unreleased. After recording with Midge Ure and Gary Numan, Griff returned to New Zealand in 1984.

In 2011, Zaine Griff made a comeback with his third album ‘Child Who Wants The Moon’ and returned to the live stage. While he has continued releasing albums and touring regularly, his music was being discovered by a cool young audience, thanks to American rockers MGMT covering ‘Ashes & Diamonds’ during their concerts in 2018.

Then recently, there came the surprise announcement that Zaine Griff was to join Rusty Egan and ‘Fade To Grey’ co-writer Chris Payne to perform the songs of VISAGE in an audio-visual presentation at W-Festival in Belgium and the Human Traffic Live & The Pioneers of Electronica showcase in London this Summer.

To celebrate the 40th anniversary of VISAGE, founder members Midge Ure and Rusty Egan had deliberated for months as to who could take on guitar and lead vocals in a four man line-up with a nod to their original inspiration KRAFTWERK, eschewing the format of a lead singer fronting a band. With Ure committed to his own ‘1980’ tour performing VISAGE and ULTRAVOX songs, the role was offered to Zaine Griff.

While Steve Strange was undoubtedly the flamboyant face of VISAGE and played a vital role in the collective’s international visual profile, the many layers of backing vocals on the recordings were by Midge Ure and Rusty Egan, providing a crucial musicality to support Strange’s more monotone lead voice.

Meanwhile, a fair number of tracks like ‘The Dancer’, ‘Moon Over Moscow’, ‘Whispers’ and the dance mix of ‘Frequency 7’ were instrumentals.

So as an associate of the New Romantic movement with connections to many key figures of the period, Zaine Griff is just the man for the job. He kindly spoke to The Electricity Club from his home in New Zealand to talk about his music career and the upcoming VISAGE 1980 x 2020 shows.

Your debut solo album ‘Ashes & Diamonds’ was produced by Tony Visconti, how did that come about?

Tony Visconti was brought in to produce my debut album ‘Ashes and Diamonds’ by my record company MD Nick Mobbs at Automatic Records which was part of Warner Bros. When Tony heard my demos, he wanted to work with me.

It was during the recording of the ‘Ashes & Diamonds’ album that you were introduced to David Bowie and he had a proposal?

I was introduced to David Bowie by Tony at Good Earth studios. David had just returned from recording the Berlin trilogy and was wanting Tony to produce some tracks for a TV show. He had heard what I was doing and asked me if we could back him.

How did you run into Hans Zimmer and his batcave of synths?

Colin Thurston introduced me to Hans Zimmer when Colin brought Hans into Utopia studios to play keyboards on some demos I was recording there. Everything from that session onwards, Hans played on. As Hans said to me only last year: “I was your keyboard player”.

In fact, he was much more than that. All the live work, studio work, Hans was with me, as I was with him during his HELDEN project.

You were frequenting The Blitz Club, what appealed to you about its atmosphere and how did you find the characters you met there?

I met Steve Strange at Legends night club. My manager Campbell Palmer owned Legends. I met so many amazing artists at Legends, we would dance and hangout till day break, often we would go to The Blitz Club or The Embassy. Everyone seemed to know each other and were supportive of each other. This is how I met Rusty Egan and Midge Ure, Boy George, Marilyn and so on.

Did it take much to persuade Rusty Egan to appear in your ‘Ashes & Diamonds’ video for the single?

I wanted at the time for Rusty to drum for me and Gary Tibbs to play bass. Well, they performed in the video of ‘Ashes & Diamonds’ and then they both were doing other projects. I tried!!

How do you feel about the American indie rock band MGMT covering ‘Ashes & Diamonds’ on their 2018 live tour?

Fantastic! I would love to meet them one day. It’s so cool when a younger generation plays your music in respect of the song and the composition. I was thrilled to say the least, I have followed them ever since.

Hans Zimmer had moved up to the producer role on ‘Figvres’ and it was to prove inspiring for his later soundtrack career?

I had to convince Nick Mobbs of Automatic Records to allow Hans Zimmer to produce my second album ‘Figvres’. So much so that Nick allowed Hans to co-produce and Nick would allow us to complete the album based on the first two weeks of recording. He loved what he heard and gave us his blessing to finish.

Up until then, Hans had only produced a single for THE DAMNED. ‘Figvres’ was his first album production. And indeed he is entitled to a full production credit for everything he put into ‘Figvres’ and of course Steve Rance, Hans’ engineer… what a team!

You had a good friendship with Warren Cann from ULTRAVOX who played drums on the ‘Figvres’ album too?

I heard ULTRAVOX on the John Peel show. I went out and brought ‘Systems Of Romance’ only because of the drummer. I had to meet this guy and work with him.

I wanted Warren so much, I called Island Records, got his number, went to his flat and convinced him to play at the Reading Festival with me, and that’s how Hans and Warren met in rehearsal for Reading Festival.

The song ‘Flowers’ was dedicated to the late Lindsay Kemp and had Kate Bush singing backing vocals, what was it like working with her?

Working with Kate Bush was beautiful. She and I had studied under Lindsay Kemp, so it was easy for her to understand the ‘Flowers’ song and the emotion of the composition.

‘Flowers’ the show was a massive inspiration. Nothing comes near ‘Flowers’. So powerful, so dramatic and a huge inspiration to us both.

Hans Zimmer and Warren Cann formed HELDEN and you sang on the single ‘Holding On’, but the album on which you sang another five songs has never had an official release, do you consider it to be a lost classic?

I spent a whole year, most days and nights with Hans and Warren on the HELDEN project mainly at Snake Ranch Studios. I did a radio promotional tour with Hans. By then he was swept off his feet by film directors. Alas Hollywood.

What was the idea behind you recording a cover of ULTRAVOX’s ‘Passionate Reply’ with Midge Ure?

Chris O’Donnell suggested I do some recording with Midge. He played me ‘Passionate Reply’ on an acoustic, I had not heard it before and I just loved it. We recorded in his Chiswick studio. We recorded enough material for an album and the masters were stored at Rock City Studios with Gary Numan’s mum.

I loved working with Midge. I had known Midge from when he was in SLIK. The band I was playing with at the time were the support to SLIK. I knew then just how good he was. Looking back, we were so naive to it all. ULTRAVOX was managed by Chris O’Donnell and Chris Morrison, they were my production management company and production company to VISAGE. See how close knit we all were? And of course they managed THIN LIZZY.

There was that TV appearance performing ‘Passionate Reply’ on ‘The Freddie Starr Show’? What can you remember about that?

I was told I was to go to Manchester and do this show. All I wanted to do was not do it. Hated the whole tacky production. Still I stood up there alone and did it.

You recorded ‘This Strange Obsession’ with Yukihiro Takahashi and Ronny, that’s quite an international combination?

I had worked with Ronny on one of my songs ‘It’s A Sin’ with Hans producing her and Yukihiro approached me to write for him. I asked Ronny to join us. That was amazing working with Yukihiro. The translation barrier was understood with music.

Although you never recorded together, there’s a photo of you with Steve Strange and Mick Karn, what was the occasion?

That photo of Mick, Steve and I was at my art exhibition at the Ebury Gallery Victoria.

Gary Numan invited you to duet with him on ‘The Secret’ from ‘Berserker’, it has a good chemistry, how did you find working in the studio with him?

Gary Numan called me asked me to work on ‘Berserker’ just out of the blue. He was great to work with, I remember him doing takes faster than what I was used to; if he liked that take, that was it. Midge was like that as well. They knew what they wanted.

You returned with your third album ‘Child Who Wants The Moon’ in 2011, what was behind what appeared to be a lengthy hiatus?

It was a lengthy hiatus because I was burnt out, exhausted, not well, I had to go. I was not in a great space. I decided to try and get well again and stop wanting the moon… you know wanting the impossible.

You’ve released the albums ‘The Visitor’ and ‘Mood Swings’ since then and have returned to performing live again. Was that aspect something you’d missed over the years?

My problem is I cannot stop composing. I recorded ‘The Visitor’ and ‘Mood Swings’ purely for composition fulfilment. In the liner notes of ‘Mood Swings’, you can see the album is dedicated to Steve Strange.

How did the upcoming VISAGE 1980 x 2020 gigs with Rusty Egan and Chris Payne come about?

I had a call from Rusty late last year. He had spoken to Midge and Chris Payne, and asked if I would be interested in the VISAGE 1980 x 2020 shows. I find this an honour and a privilege. This project is about the music of VISAGE, not the front man or side man, it is about the music VISAGE produced and created.

These VISAGE shows from my perspective are a celebration of 40 years since the VISAGE debut was released. For me, it will also be a 40 years celebration of my debut album ‘Ashes & Diamonds’. It is also a celebration to Steve’s life, Rusty, Midge, Chris and everyone involved in the making of VISAGE and all their incredible fans and followers.

Which are your own favourite VISAGE songs?

Songs like ‘The Damned Don’t Cry’ are classic compositions of that time. Again, I love the energy they put in the studio, I don’t believe they ever performed live. I have spoken to Chris but I haven’t seen him since I sang on Gary Numan’s ‘Berserker’ album… I can’t wait to work with Chris and Rusty again.

What are your plans after these VISAGE 1980 x 2020 dates?

I will be doing some live shows later this year in London.


The Electricity Club gives its warmest thanks to Zaine Griff

Special thanks to Rusty Egan

‘Ashes & Diamonds’ and ‘Figvres’ are still available via Mig Music on the usual digital platforms

Zaine Griff, Rusty Egan and Chris Payne perform the music of VISAGE 1980 x 2020 at W-Festival in Belgium on Friday 22nd May 2020 – tickets are available from https://w-festival.com/en/

There will also be a performance as part of Human Traffic Live & The Pioneers of Electronica on Thursday 4th June 2020 at London Printworks which will also feature DJ sets from William Orbit and Wolfgang Flür – tickets are available from https://www.alostweekend.com/event/04-06-20

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Text and Interview by Chi Ming Lai
13th February 2020

SYNTH GURU Interview

SYNTH GURU Paul Wiffen has moved between working for manufacturers, artists and technical magazines in the decade when synths really came to the foreground.

You might not know his name, but if you are an electronic music fan of any capacity, the likelihood is that you have probably heard, used or read his work.

His technical curriculum vitae includes Electronic Dream Plant, Elka, the Oxford Synthesizer Company and GEM while he has contributed to publications such as Electronics & Music Maker, Music Technology and Sound On Sound.

The musicians he has worked for reads like a Who’s Who of music, including Vangelis, Jean Michel-Jarre, Paul McCartney, Peter Gabriel and Stevie Wonder. Paul Wiffen kindly reminisced with The Electricity Club about his varied music career.

What was your own musical background and how did you get into synths?

I grew up in Liverpool where my mother took to me to pianos lessons once a week with a French lady who lived next to Ken Dodd RIP in Knotty Ash. I wasn’t very keen on her as she would hit me over the back of the hand with a ruler if I didn’t keep my wrists up, but when I played at my school’s carol service in the Anglican church next door, I was hooked. But I was a classical snob the entire time I was in Liverpool, looking down my nose at the kids who sang the Beatles “Yeah, yeah, yeah!” in the playground.

It was the piano intro on Simon & Garfunkel’s ‘Bridge Over Troubled Water’, Rick Wakeman on Bowie’s ‘Life On Mars’ and Cat Stevens’ ‘Morning Has Broken’ which opened my ears to how commercial music could still be technically challenging and beautiful.

Elton John’s ‘Rocket Man’ was another early favourite as I was obsessed with the exploration of space

At 10, I started to pick up my Dad’s bashed up old steel-string guitar and messing around when I started watching Top Of The Pops and saw that the guitarists got more attention. I asked my mother for a guitar of my own, but she would only buy me a nylon strung one along with classical lessons as she believed “if you’re going to do something, do it properly.”

And when I saw Bowie for the first time on Top of The Pops doing ‘Starman’, my grandma had asked what I wanted to for Christmas, I said a blue twelve string guitar. I got the 12string but the local store in Ilford didn’t have it in blue. I still play 12string as well as keyboards to this day in ENDLESS FLOYD, a PINK FLOYD tribute band.

I earnt the money for my first electric guitar (see picture) by getting up at 5 in the morning one Easter Holidays to work in a dairy washing out crates full of rotten milk, so I really “paid my dues” to be able to play the blues. I started to jam with other guys at school, including Jon Parricelli who I had guitar lessons with (he later toured with Mike Oldfield and is now the first call session guitarists for film sessions in London with Hans Zimmer and others – he played the Mandolin parts for ‘Captain Corelli’ and taught Nicolas Cage how to mime as well as appearing in the film twice as an Italian and Greek musician).

My first live performance was backing Rik Mayall in a school concert (he was in the year above me at school but in the same house) for his version of ‘Trouble’ which later became legendary…

My mother actually got my first band of schoolmates our first gig at the age of 15 at the Christmas party of the school where she was deputy headmistress.

We were a covers band and played STATUS QUO (easy to learn), Alvin Stardust and in a prophetic moment, the-then No1, ‘Part Of The Union’ by Rick Wakeman’s first band THE STRAWBS (with whom I would later play occasionally as a dep) which proved the most popular.

The adulation from the girls afterwards turned out to be because they thought I looked like Donny Osmond rather than any great skill on our parts, but we lapped it up anyway.

Although I kept up piano lessons till I left school, my heart wasn’t in it. I tried violin and led the second violins in the school orchestra and then flute (because of JETHRO TULL and GENESIS). Then in the same week I heard John Barry’s ‘Theme From The Persuaders’, Elton John’s ‘Funeral For A Friend’ and GENESIS’ ‘Watcher Of The Skies’ and couldn’t identify the source of the sounds. I asked the older guys at the public school in Worcester I won a choral scholarship to and heard the terms Minimoog, ARP Odyssey and Mellotron for the first time.

I spent the next few years at the public school trying to find out what they were and where I could try them… ironically, Rod Argent’s Keyboards opened a branch in Worcester the year after I went off to Oxford University to study languages.

In an attempt to sound more like the prog rock bands I was getting into, I recruited the school organ scholar and we could only rehearse and perform in the main school hall where the big organ was.

Our repertoire at that stage was very organ-based, ‘Sylvia’ by FOCUS, ‘Roundabout’ by YES,’ Jerusalem’ by ELP, ‘Black Night’ by DEEP PURPLE, and ‘The Knife’ and ‘Firth Of Fifth’ by GENESIS because I could play my favourite guitar solos over the church organ. I’d also started writing prog style music of my own because the organ scholar could play anything in whatever time signature and key transpositions I wrote it.

As I had gotten my place at Oxford early, the headmaster let me put on a gig at the end of my last term for all the boys in my school and the girls from the local convent school to celebrate the end of their A levels and it was a huge success, and this time the girls admiration was at least in part for our musicianship. It was that night that I decided I would be a musician, not an interpreter! But I still went to Oxford as I suspected it would be a better place to get into a band than Worcester.

In my second week at Keble College, I met my future manager/roadie John Shaw in the TV room watching The Old Grey Whistle Test and when he found out I could play, he got me my first recording session with the Oxford University Broadcast Society of which he was a part (he wanted to be a radio DJ and they had links with the BBC) as they were always looking for victims to record on their 2-track! I recorded one of the songs I had written at school and my prog rock version of ‘House Of The Rising Sun’ in 9/8 with flute solo!

They played these to a band ONE FOR THE WALL who came in to record the next week looking for a lead guitarist and I was offered the gig. During our time in Oxford, we played support to SIOUXSIE & THE BANSHEES and THE DAMNED as well as headlining several Keble College Balls.

The band bought me my first electronic keyboard (a Crumar Multiman and the bass player had a Mini-Korg 700 mono synth with the knobs below the keyboard which I put on top of it) to give us a better chance when we entered the Melody Maker Rock/Folk Contest, so I started playing keyboards on the songs that were better suited. We came second in that in 1979 to SPLODGENESSABOUNDS. But the band split before we could record the album which Ian Anderson of JETHRO TULL offered to produce for us.

You also worked with Chris Huggett (who designed the EDP Wasp) on the OSCar which was designed with ULTRAVOX in mind? What happened there?

Thinking my chances of being a rock star were over, I taught English as a Foreign Language in Abingdon for a while. Then realising synths were becoming more important than guitars, I responded to an ad in the back of the Melody from an Oxford-based company for a German speaking synthesiser demonstrator to demo a new synth at the Frankfurt trade fair.

I hadn’t ever used a proper synthesiser (string machines and other hybrids but never a synth with knobs) but I had a Masters degree from Oxford in French German and played some Rick Wakeman and Stranglers on the plastic touch keyboard, so they hired me.

This turned out to be Electronic Dream Plant (Oxford) Ltd, the makers of the £200 Wasp and the new synth was the £99 Gnat. After the trade show, they asked me to stay on to sell to schools and colleges. I got Eton, Reading University and the Radiophonic Workshop in the first week). When they found I had sold two Wasp Deluxes and a Spider sequencer where they had always failed to sell, then they put me in charge of all sales until the company went bust at the end of 1981.

I had realised there was no-one in the company capable of designing the synths and some enquiries revealed that the designer Chris Huggett had left because he had been made bankrupt by a previous version of the company going bust and he was having an affair with the managing director’s wife!

I had tracked him down to a washing machine plant where he was developing test software for the production line before the company went bust and invited him to a demo I was doing at the Oxford Union. He swore no-one had ever made them sound so good and we hit it off over drinks afterwards. As a result, we decided to set up the Oxford Synthesiser Company with his parents’ money, and I slept on his couch for a few months while I spec’d the OSCar out and he set about making it happen.

At this point, I needed to go earn some money so became Elka’s Synthex demonstrator at the following year’s Frankfurt while Chris did his electronics stuff. Elka followed this with an offer to do all the factory presets, which I did in my flat on the Goldhawk Road that summer. Then when the OSCar came out, I found myself selling both of these instruments to the likes of ULTRAVOX, BRONSKI BEAT, THE BUGGLES’ Geoff Downes (who then joined YES) and other chart acts as well as my prog rock heroes like Rick Wakeman, Keith Emerson and Don Airey (then with Gary Moore) and more importantly, programming them on the records.

The French distributor of the OSCar introduced me to Vangelis and he invited me to do sound design on this new film he had just been hired to score, ‘Blade Runner’. Meanwhile Keith Emerson introduced me to his neighbour Paul McCartney who used me on ‘Spies Like Us’. He recommended me to Stevie Wonder so I moved to California on the back of ‘Blade Runner’ and ‘Spies Like Us’ and the rest is history.

So what was working with Vangelis on sound design for the original ‘Blade Runner’ and then later on ‘1492 Conquest of Paradise’ a few years later like?

The original ‘Blade Runner’ was my real first work as a programmer on a session instead of in my bedroom doing presets to be released in the instrument. It came about because Vangelis was late when the French OSCar distributor took me round to Nemo Studios. I started messing about on his Yamaha CS80 and came up with a sort of whistling sound. Suddenly, Vangelis was elbowing me out of the way (at first I thought he was throwing me out for breaking his keyboard) so he could play it. That ended up being right at the beginning of the movie the first time you hear the main theme.

Vangelis wasn’t at all interested in the OSCar (he never used monosynths) but he asked me if I had any free time to work on a new project he had just been hired to work on (I was barely making any money from OSC, just expenses which Chris’ parents would cover).

It was months before I found out it was a movie and even longer before the guy that kept showing up was Ridley Scott whose ‘Alien’ I had loved. I wasn’t allowed in the control room where the dub was happening as the whole movie was shrouded in secrecy, I think I even had to sign something.

A couple of years later when Vangelis had moved to New York, I called him to see if he wanted to endorse a new sampler from Akai, the very first S900. He flew me to stay with him at the Hotel Pierre on Central Park but once again, he wasn’t so keen on the Akai, but liked some of the synth strings sounds I had played him from other projects. He ended up keeping me for two weeks while he scored ‘The Bounty’ which starred Anthony Hopkins and Mel Gibson.

In 1989, I was sent to show him the Ensoniq ESQ1 in Rome but he didn’t like that either. Once again he asked me to program sounds on what he already had for a film called ‘Francesco’ starring Mickey Rourke as St Francis Of Assisi (worst casting ever!). I remember one evening, Vangelis was trying to come up with something for a scene where St Francis rolls naked in the snow to stop his impure thoughts. The scene was in slow motion and you could see everything (but all shrivelled up because of the cold). Vangelis leaned over to me and said “Sometimes Paul this is the best job in the world but tonight it is the worst!”

I also did a bit on a Roman Polanski movie called ‘Bitter Moon’ (Hugh Grant’s debut) for him and while he was doing that, the call came through from Ridley to do ‘1492 Conquest of Paradise’. But Roman wanted him to be part of the Cannes jury that year as well, so I ended up programming sounds in Vangelis’ suite at the Carlton in Cannes while Vangelis was watching the films on the Jury.

Fortunately he was using MIDI by then, so I could program the sound to fit the exact notes he had played on the sequencer. Sadly I missed out on all the choral sessions but it was the most glamorous project I have ever worked on as we got to go to Cannes afterparties every night.

How did working with Paul McCartney on ‘Spies Like Us’ come about?

That was just before I moved to the States and was mainly Emulator 2 samples. My agent at the time was Gary Langan’s girlfriend and when THE ART OF NOISE themselves ran out of time to work on the extended soundtrack, she drafted me in to work on additional material with the same sample-based technology. The main thing that project achieved was the link to Stevie Wonder and also that my mother never asked again when I was going to get a proper job as Paul McCartney and Stevie Wonder were the only two pop stars she had ever heard of!

Did you ever have a go at building the Powertran Transcendent 2000 kit which was the first synth for people like Thomas Dolby, Bernard Sumner and Ian Craig Marsh?

At school, I joined the science club to build myself a fuzz box from a magazine article… but I was so dangerous with the soldering iron that not only did it not work, but the physics teacher said I had destroyed all the components and the tracks on the circuit board.

I took this as a sign that I should never pick up a soldering iron again and I never have. By the time I joined the team of E&MM, the publisher had bought out Maplins and there were no more kit building articles.

So how did you come to be involved in Electronics & Music Maker, which came about as an offshoot of Maplin Electronics who recently went into administration?

E&MM was launched while I was at Electronic Dream Plant and the first editor, Mike Beecher, came to our offices behind Blenheim Palace to interview the managing director. But he spent most of the morning in the bath so I was deputised to talk to Mike instead.

Mike remembered me and when he wanted to fire a previous member of staff for stealing review equipment (he shall remain nameless), he remembered me. He tracked me down to the flat on the Goldhawk Road where I was just finishing the Elka Synthex presets (after which I had no more work).

The job offer came just in time and I spent the next year commuting between Shepherds Bush and Southend-On-Sea (and then Cambridge when the publisher, Terry Day, decided to move it nearer his house).

What was the atmosphere like in the E&MM office, were you like frustrated musicians or just fans of acts who were innovators and made a commercial pop success of electronic music? Was there much inside politicking among the writers to get particular assignments?

We were all frustrated musicians and in Ken McAlpine’s case, a frustrated designer.

Even Trish who answered the phone had been in an electronic band and she moved from Belfast when that band split to be the receptionist… she ended up running Music Technology in California and marrying a synth designer from Sequential!

I was a fan of MARILLION because they were almost prog and of course ULTRAVOX who I would occasionally be hanging out with as well as helping in the studio (I worked on ‘Love’s Great Adventure’), because I refused to move from London.  I got to put them on the cover eventually when ‘The Collection’ came out, but this didn’t happen for ages as the key staff manager was jealous of this contact.

One of the other guys was a big fan of SIMPLE MINDS and the only artist we all agreed on was Kate Bush who we had on the cover twice. But we tended to have pictures of the gear rather than the clothes, so the record companies’ press officers preferred Smash Hits interviews to ours.

The real problem was the editor Mike Beecher, a former school teacher who was about 45 (seemed ancient to me back then) who played the organ with his own dance troupe of teenage girls (definitely a bit dodgy) performing to Jean-Michel Jarre etc… he thought he knew it all and just wanted the rest of us to sub his interviews. He would review all the cool stuff and go to do all the interviews.

When his wife went into Labour, I set up to do a SPANDAU BALLET interview while he was at the hospital and when he got in, he tried to take it off me. We both marched into the publisher’s office and Mike said “either that boy goes or I do!”

Terry was terribly apologetic but said Mike was the face of the magazine and he needed him. He paid me a month’s redundancy and I walked into a job demoing the Rhodes Chroma and that led to working for Sequential in the UK reporting to their European office in Amsterdam.

I was just getting bored of their rubbish new MaxTrak and TOM drum machine and the phone went and it was Terry telling me he had fired Mike Beecher because everyone was refusing to work with him, so I came back for 6months in Cambridge. Then I told Terry I was thinking of moving to the States and he made me launch editor of Music Technology over there (E&MM eventually changed its name to Music Technology as well).

However, Terry put another editor over me who couldn’t write anything except manuals, I ended up writing most of the magazine and he was being paid all the money. I had a big argument with Terry at the AES show in LA after three months and stomped off when he said I had better be freelance.

I walked onto the Keyboard Magazine booth around the corner and the editor Dominic Milano gave me a column on MIDI every month and big feature on sampling and I never looked back. Oberheim hired me to do a sample library and demo the Matrix 12 and DPX-1 at the Summer NAMM show in Chicago. Then Stevie Wonder asked me to go on tour with him and I never looked back.

The following summer, I discovered Ian Gilby who I’d worked with at E&MM since day one and his brother Paul had had enough and left to set up Sound On Sound and they asked me to write something for their second issue which I’ve been doing ever since. On their 25th anniversary, Ian publicly credited me as the longest serving writer on the magazine.

The Electricity Club bought both E&MM and Smash Hits regularly and it was quite interesting that the front covers of both mags would often share the same artists eg THE HUMAN LEAGUE, DEPECHE MODE, YAZOO, CHINA CRISIS, SIMPLE MINDS, OMD etc? Any thoughts on that?

It was funny! The press officers wanted Smash Hits interviews but the bands wanted to be interviewed by us, although it took us some time to find this out! Sometimes the bands had more questions for us regarding the gear than we had for them. I got several programming gigs with CHINA CRISIS and SIMPLE MINDS out of interviews. But the press officers always scheduled Smash Hits before us!

How did the approach to the American version of E&MM called Music Technology differ?

There was much less interest in the electronic bands than in the UK, but the older British artists were still huge in the US and I got to put my prog heroes on the cover, Peter Gabriel was our first cover artist and Keith Emerson soon after. But when ‘Sledgehammer’ and ‘So’ topped the charts, then E&MM put PG on their cover as well.

Eventually the parent mag changed its name to Music Technology which appears to reflect the move from analogue to digital, how did you find adapting?

The synths I had worked with the OSCar and Synthex already had digital oscillators (so they didn’t go out of tune) so I was always looking to the future; my nickname there was The Digital Evangelist – Synth Guru was given me by artists like Billy Currie, Rusty Egan and Geoff Downes.

However, I used to have massive arguments with some of the staff in the UK about analogue vs digital, and with the American staff about how to spell analog 🙂

They all took a long time to adapt; I used to joke I was John The Baptist, “a voice crying in the wilderness” and the publisher used to say he was just waiting for a stripper to ask for my head on a plate. However, the manufacturers were on my side as Korg replaced the analogue Poly 6 with the digital Poly 61 and 800 and even Yamaha came out with a sampler (they hired me to do the library), so I won out in the end.

Music Technology later ended in 1994 when it was merged with Home & Studio Recording combined to create The Mix, but you continued writing for Sound On Sound in particular which is still going. What’s it like for you now, compared with then?

I was exclusively writing for SOS in Europe by 1986 and doing columns for Keyboard in the States and both of those were more targeted at professional musicians.

You did various things for Trevor Horn including PROPAGANDA, Grace Jones and BAND AID?

Once Frankie broke, Sarm was the studio to work at and ZTT were the label to be signed to. So there were several of us who were desperately trying to get in there to be involved. However there were several gatekeeper keyboard players that Trevor Horn used who didn’t like him to know that they weren’t programming their own sounds. So I ended up doing stuff for them and then they would take the sounds in and take the credit for them.

That’s what happened on PROPAGANDA and Grace Jones, but I didn’t get to meet Trevor. But then Midge Ure from ULTRAVOX got in touch about how to trigger the OSCar from a click track on ‘Do they Know It’s Christmas?’ and he never wanted to hide that he had other people helping him out with the technology.

You had your own band SPY which almost got signed to ZTT to become the posh Frankie! But what happened there?

It wasn’t so much my band as that of Malcolm and Dave, a couple of public school boys who saw themselves as the posh equivalent of Holly Johnson and Paul Rutherford, except that they didn’t really sing but talked over the music. They had already recruited Stuart Bruce who had engineered some of the Frankie record and played guitar on ‘Wish The Lads Were Here’ and they heard some of the stuff I had done on Paul McCartney ‘Spies Like Us’ and asked me to join.

We set up my Prophet 10 and Prophet T8 in Dave’s parents’ house on Hyde Park (which was where JM Barrie had written Peter Pan) and we started writing and recording. I met Jill Sinclair once to be added into the ZTT deal. However, Malcolm had persuaded Renault and Saab to provide some cars for a TV spinoff (the lyrics were all like a 60s spy show with car chases a bit like YELLO’s later ‘The Race’) and then he had sold them to fund his expensive lifestyle (sniff, sniff) and when the show wasn’t forthcoming, they wanted the cars back! So recording tracks properly with Trevor was postponed while the missing cars were tracked down.

However, by then California was calling me strongly in the form of Music Technology and Stevie Wonder so I was a bit distracted. By the time I came back for Christmas, we’d been dropped from ZTT because they were being sued by the car companies and worst still, Malcolm had sold my keyboards to Stuart for more money as he had obviously put all the money from the cars up his nose!

Fortunately, I was able to come to an arrangement with Stuart that if I ever needed them to record with in the UK, I could do it at the studio he had at Peter Gabriel’s Real World, and I had more work with Stevie on the road (he had several of each in case I ever needed). I have since got the T8 back which was my favourite, but Stuart preferred the 10 so he kept that and it’s still at Real World.

You also did programming for Jean-Michel Jarre, what’s this story about you nearly drowning at his London Docklands concerts?

I came back from a Stevie Wonder world tour to find a two month old message on my answering machine from Jean-Michel Jarre asking me to work with him. He had liked the Synthex so much on ‘Rendez-vous’, he had used all the factory presets up and wanted some new sounds. Elka had put him in touch with me. I was worried I must have missed the work but it turned out he was only halfway through ‘Revolutions’.

So I shot over to Paris with a new Akai sampling drum machine, knowing he had the Synthex and the OSCar already. The track I contributed most to is ‘Industrial Revolution Overture’ and it is probably my best sound design work apart from ‘Blade Runner’ because like Vangelis, JMJ let me come up with my own sounds, rather than trying to design them to order.

Once the album was done, he revealed he was doing the Docklands concerts and asked me to get involved. In the end, the weather was so bad that the health and safety wouldn’t allow any electricity on the stage and so everything had to be mimed. We all got soaked to the skin over and over in that week, hence the drowned reference (my two Synthexes on stage came back to me a week later full of water so they did drown but dried out OK). But the rain looked great in the concert footage and at least we didn’t get electrocuted.

Recently I was delighted to be invited to Jean-Michel’s ‘Electronica Live’ tour at the O2 and find that the climax of the concert was a new piece called ‘The Time Machine’ using exactly those old Synthex and OSCar sounds. Afterwards backstage, Jean-Michel said to me, “see I saved the best till last!”

What was your involvement in Hans Zimmer’s days at his Lillie Road Studios in London before he became a megastar film scorer in Hollywood?

In the mid-80s, Hans ZImmer was moving from record production into soundtracks, initially with ‘The Deer Hunter’ composer Stanley Meyers. When he branched out on his own, he missed the budgets Stanley had to record orchestras, so he ended up buying half a dozen Akai S1000s to load with orchestral samples and I supplied many of those. Occasionally there was a bit of synth work but he mainly had an insatiable appetite for orchestral samples.

Of course when he moved out to LA, he moved it all over to Gigasampler on the PC and then won the Oscar for ‘Driving Miss Daisy’, so he didn’t need my input any more as he was given the budgets to use real orchestras for recording.

You had a Hollywood phase yourself with Stevie Wonder with tracks that got used in ‘Die Hard’, ‘Woman In Red’ and Spike Lee’s ‘Jungle Fever’?

The best of those tracks by far was ‘Skeletons’ which is playing in the limo while the black chauffeur in ‘Die Hard’ is partying with a couple of girls. Stevie originally wrote the whole album ‘Characters’ on a PC sequencer called Texture triggering mainly DX7 sounds on the TX816 which the rest of us in his team hated.

So Rob (Stevie’s guy on Synclavier, Fairlight and Waveterm) and I used to compete to replace those sounds with something fatter and warmer.

I won on the bassline of ‘Skeletons’ which was a Synthex, an OSCar and Prophet 2002 bass sample all MIDI’ed together and that remains the best bass sound I have ever come up with. I think Rob won with some of the polyphonic keyboard parts on Synclavier and Fairlight, but I’m happy I nailed that sound.

The other soundtracks weren’t so much fun as they were tarting up old tracks in one and working with Stevie’s worst lyric ever (a sort of Latin declension of “I got Jungle Fever, You got Jungle Fever, We got Jungle Fever”) on the other. But it did seem that for I while, I was working on more soundtracks than pop records.

What’s this about your small contribution to a Michael Jackson song?

It came about because I had worked on ‘White Wedding’ with Billy Idol back in the UK and Stevie Stevens, Billy’s guitar player, was the man shredding on that record. I ran into him at the Whisky A Go Go on Sunset Boulevard and he invited me along to the Michael session just to watch. Then Quincy decided he wanted some keys on ‘Dirty Diana’ after all and I was there so got asked. Listen to the opening sound, that was something I came did on the Synclavier over the lunchtime. The strings in the background almost inaudible under all that blistering guitar were Emulator II samples I loaded into the Oberheim DPX-1 that I happened to have in the boot of my car.

As someone who has managed to move between technical writing, working for the manufacturers and working with established artists on their music, what do you think have been your proudest achievements?

I like to think that I was a bit like a pollinating bee moving backwards and forwards between manufacturers, artists and technical magazines. Most of my contemporaries never managed to do that.

So I would be first to get my hands on the gear as the reviewer, then experience how the gear was being used by artists (often not at all how the manufacturer intended) and advise the manufacturers on how to do it better next time.

Equally when working for a manufacturer who had come up with a new product and I could see which artist to approach with it. A great example of this is when I was working with Korg and they released the Z1. Peter Gabriel had confided to me that he liked technology that messed the sound up (like the early Fairlight which made the sound crunchy). When the Z1 came in with an effect called Decimate which did the same thing, I was able to call up his engineer and say that this might really suit what Peter was working on.

When I took the Z1 in, within minutes I found myself running one of Peter’s vocals through the Z1 to make it sound harsher and more menacing. As Peter Gabriel was the guy that gave me hope at public school that public school boys could have a career in rock’n’roll and I had loved what Brian Eno had done to some of his vocals on ‘The Lamb Lies Down On Broadway’, it was a dream come true to be treating one of his vocals in a similar fashion. So I’m probably proudest of the credited thanks to me on his ‘OVO’ and ‘Up’ albums.

When I went to work for Apple, he also had me set up his two daughters’ Mac computers for their film and music courses in New York, they both now have thriving careers in filmmaking and music.

While I was doing that, he lent me his apartment on Broadway to stay in. One of my happiest memories is playing ‘The Lamb Lies Down On Broadway’ on his grand piano facing the Empire State Building opposite his terrace. If only there had been a camera on the Nokia cellphone I had back in 2002!

Most recently I have returned to the piano where I started, writing music for films and TV. The most amazing thing happened when a Finnish company bought up the Italian company GEM who had in turn purchased Elka when they got into financial difficulties.

I contacted them as they announced a reissue of the Elka Synthex which started my career… I am still best known for JMJ’s laser harp sound from ‘Rendez-vous’.

When we needed to publicize the Synthex reissue, I offered to contact Jean-Michel to do us a video message about the need to do that reissue. Apparently, some of their marketing department were extremely sceptical about that or that I even knew Jean-Michel.

When I got a return call from Jean-Michel inviting me to his hotel that very afternoon to film such a message and I was able to email it through that evening to Finland, they had to eat their words. That was a very proud moment especially when he name-checked me in the video without me asking him to.

While the Synthex redesign is coming to fruition, it turns out that GEM have the best digital stage piano I have ever played, the ProMega 2+ and so in the interim, I have been demonstrating that for them at music fairs in Frankfurt, Anaheim and Nantes with the piano chops which I have only recently been improving using the compositions I have only recently written (everything coming together at the right time).

In my additional role as Artist Liaison, I have also been able to bring in some of my childhood heroes turned great friends to using the GEM ProMega 2+ in their tours.

Rick Wakeman is back playing with his old YES bandmates in Jon Anderson and Trevor Rabin, and was the first person to play the first unit off the production line live in its stage debut last year on ARW dates in Asia and Europe. Hearing our instrument playing my childhood favourite ‘Heart Of The Sunrise’ half a dozen times live last year was a pretty proud repeated moment, as was hearing Steve Hackett’s keyboard player Roger King use it on the intro of my favourite GENESIS song ‘Firth Of Fifth’ as they toured the UK with it as well.

But my proudest moment of my relationship with a manufacturer was putting on my good friend Don Airey (now with DEEP PURPLE but from my prog favourites of 1978 COLISEUM II) and his own band of musicians I have known for years, on the Mainstage at last year’s Frankfurt Musikmesse to launch the ProMega 2+ to the distributors and dealers in the industry. Friends and former colleagues who now work for rival companies were texting and messaging their congratulations live as they were walking past and hearing their childhood favourites being played on our instrument.

At this year’s Frankfurt, we will add a domestic version with speakers and a baby grand version to the digital piano. How will I manage to top last year’s launch? I wonder if Rick is free… last year he was getting inducted into the Hall Of Fame with the rest of YES!


The Electricity Club gives its grateful thanks to Paul Wiffen

A selection of archive articles by Paul Wiffen for Electronics & Music Maker, Music Technology and Sound On Sound can be viewed at http://www.muzines.co.uk/

https://www.facebook.com/SynthGuruWiffen/

https://twitter.com/synthguruwiffen


Text and Interview by Chi Ming Lai
Photos courtesy of Paul Wiffen
14th April 2018

JEAN-MICHEL JARRE Electronica 2: The Heart Of Noise

Released last October, ‘Electronica 1: The Time Machine’ was JEAN-MICHEL JARRE’s first album since 2007’s ‘Téo & Téa’.

Jarre-electronica2It was a worldwide collaborative adventure where the French Maestro “had this idea of merging DNA with musicians and artists of different generations, linked, directly or indirectly, to electronic music in a kind of sharing process in a world where we’re more isolated than ever by our smartphones and the Internet”.

During its five year mission, the ‘Electronica’ sessions produced an excess of tracks, thanks to the number of willing contributors who embraced Jarre’s ethic to write in the same room, as opposed to remote working via the web.

“Electronic music is all about connections” he said, both practically and figuratively. ‘Electronica 1: The Time Machine’ featured AIR, TANGERINE DREAM, MOBY, VINCE CLARKE, JOHN CARPENTER, LITTLE BOOTS and LAURIE ANDERSON; so for those who were unaware of any electronic music before AVICII, it came as something of an education.

The second instalment ‘Electronica 2: The Heart Of Noise’ has no less impressive a cast, with PET SHOP BOYS, GARY NUMAN, HANS ZIMMER, THE ORB, PEACHES, YELLO and SEBASTIEN TELLIER all willing conspirators in one of the ambitious music projects ever undertaken.

‘The Heart of Noise, Pt. 1’ featuring French techno kid RONE begins with an almost Morricone aesthetic, as if the Italian composer had used synths. After a marvellous impressionistic start with an enticing filmic ambience, the more uptempo second part sees Jarre taking classic trance melodies along for the ride, utilising steady beats and percussive mantras without being obtrusive.

‘Brick England’ with PET SHOP BOYS is classic mid-tempo Euro disco, with Tennant and Lowe not breaking ranks with a rockabilly tune or anything. But Jarre’s ribbon controlled lead synth does sound as though it might break into ‘The Final Countdown’!

Following on, ‘These Creatures’ with experimental singer / songwriter JULIA HOLTE takes things downtempo with a gentle blippy soundscape. Holter provides some wonderfully angelic vocals and voice samples, as the dreamy build swims along seductively.

PRIMAL SCREAM are a surprise inclusion although their flirtation with harder electronic forms on ‘Autobahn 66’ and their cover of ‘Some Velvet Morning’ justifies their presence. However the basis of ‘As One’ is a speeded up take on ‘Come Together’ from ‘Screamadelica’ and sees pitch shifted voices alongside vocoder processed tones that could easily be mistaken for GRIMES going happy hardcore.

Jarre+NumanThe unlikely friendship between GARY NUMAN and JEAN-MICHEL JARRE has resulted in ‘Here For You’, possibly the most purely electronic work Numan for many years. Significant in its absence of crunching guitars, Jarre himself amusingly described this stomper as “Oscar Wilde Techno”. Whatever, it is certainly the darkest thing Jarre has ever recorded

‘Electrees’ sees an eagerly awaited collaboration with award winning soundtrack composer HANS ZIMMER epic. Jarre’s father Maurice of course won Oscars for his work on ‘Lawrence of Arabia’, ‘Dr Zhivago’ and ‘Passage To India’. Zimmer has a varied CV including BUGGLES, HELDEN and even producing a single for THE DAMNED, but first worked on fusing the traditional orchestral arrangements and electronic instruments in 1980 with English composer Stanley Myers who wrote ‘Cavatina’, the theme to ‘The Deer Hunter’. With a cinematic sheen, ‘Electrees’ harks back to Zimmer’s synth roots with choral samples and synthesized strings, recalling MOBY’s ‘God Moving Over The Face Of The Waters’.

A non-musician collaboration comes in the form of ‘Exit with National Security Agency whistleblower EDWARD SNOWDEN. Frantic and tense with a stop / start structure, it slows for a monologue by Snowden. The track’s political slant is thematically closer to 1988’s ‘Revolutions’ with a chip tune influence that soundtracks a spy chase and “finding a way out”.

Peaches-Jean_Michel_Jarre-2016‘What You Want’ has the unmistakeable snarl of PEACHES over an electro hip-hop backbeat.

With her characteristic diva humour coupled with some asexual madness, it’s a diversion from Jarre’s usual template that will horrify fans of ‘Oxygene’ with its dubstep and rap elements.

On the other side of the coin, the brilliant ‘Gisele’ with SÉBASTIEN TELLIER is very melodic and unsurprisingly Gallic, the gathering of two French talents sounding not unlike Serge Gainsbourg gone electro. THE ORB’s distinctly spacey textures make their presence felt during ‘Switch On Leon’. They actually first worked with Jarre on a remix of ‘Oxygène 8’ in 1997, but it was said at the time that he was unhappy with the results so the track was subsequently issued as ‘Toxygene’ by THE ORB themselves. Whatever the story, water must have passed under the bridge for the two parties to reunite.

Meanwhile, ‘Circus’ with German producer SIRIUSMO is very dance pop with DAFT PUNK robot voices in abundance; while good fun, it begs the question as to what a collaboration with Guy-Manuel de Homem-Christo and Thomas Bangalter would sound like. No questions as to how a YELLO versus JEAN-MICHEL JARRE co-write would turn out like as ‘Why This, Why That and Why’ delivers the expected; Dieter Meier gives his distinct droll while Boris Blank and Jarre provide an airy blend of soothing atmospheric backdrops.

‘The Architect’ with house trailblazer JEFF MILLS is hypnotic, orchestrated Detroit techno that provides an accessible entry point to the genre. But more appealing to a handbag filled dancefloor is ‘Swipe To The Right’. Possibly another politically coded piece or the use of Tinder, the brilliant song partners Jarre with CYNDI LAUPER. No stranger to electronic forms, particularly with her under rated ‘Bring Ya To The Brink’ album of 2007, there are big bass riffs galore for a great poptastic exploration that is both catchy and danceable. A sample from the Minipops rhythm box that appeared on ‘Oxygene’ even drops in for possibly the standout track on this collection.

JARRE BW2015To close, the album finishes with two solo compositions ‘Falling Down’ and ‘The Heart of Noise (The Origin)’; the former floats a vocodered vocal over a distinctly harder-edged mechanical pulse, while the latter is a third variation on the title track.

It would be fair to say with ‘Electronica 2: The Heart Of Noise’, the results cannot help but be mixed. GARY NUMAN said to TEC that JEAN-MICHEL JARRE “is one of the nicest people I’ve ever met in my entire life” – so obviously he didn’t want to upset anyone and decided to release everything!

However, such is the method of modern music consumption, the listener can be more brutal and from the two volumes, a great 16 track ‘Best Of Electronica’ playlist can easily be constructed. While Electronica 2: The Heart Of Noise’ is not as consistent as the first instalment, there is something for anyone remotely interested in electronic music. The choice is yours.


Jean-Michel-Jarre-Electronica-uk-Tour-2016‘Electronica 2: The Heart Of Noise’ is released by Columbia / Sony Music

The ‘Electronica’ World Tour runs from July to December 2016, please check JEAN-MICHEL JARRE’s website for more details

http://jeanmicheljarre.com/

https://www.facebook.com/jeanmicheljarre

https://twitter.com/jeanmicheljarre

http://aerojarre.blogspot.co.uk/


Text by Chi Ming Lai
8th May 2016

STEPHEN J LIPSON Interview

SJLipson B&WcropStephen J Lipson, both individually and in collaboration with Trevor Horn, has been responsible for some of the most iconic sounding electronic-based musical productions over the last 30 years.

Alongside Trevor Horn, he was an integral part of the ZTT Records sound which was the Ying to the pop Yang of Stock, Aitken and Waterman – producing a stellar run of songs that were musical, very often cerebral and in many cases, massive chart hits.

Whereas some band producers of the era were happy just to record the artists and suggest a few overdubs, Lipson and Horn saw the potential in often scrappy sounding demos and had the vision to use the latest available technology, combined with their own musicianship, to totally transform and take them to another place altogether.

The two acts that remain most musically indebted to the ZTT stable were Liverpool’s FRANKIE GOES TO HOLLYWOOD and Germany’s PROPAGANDA. As well as producing tracks which arguably sounded better than most of the competition, the label’s arch strategist Paul Morley perpetuated a tradition started by Factory Records in aligning the music of their artists with a design aesthetic that although could be seen as being ultra-pretentious, helped give the bands a unique identity.

Stephen J Lipson has also produced for PET SHOP BOYS, SIMPLE MINDS, ANNIE LENNOX, SOPHIE B HAWKINS, PHARRELL WILLIAMS and ULTRAVOX amongst others. He kindly spoke to The Electricity Club about elements of his glittering career and also his move into the world of film music production and mixing.

Your early days in the industry seemed to involve a lot of “learning on the job”

I was self-taught and I built my first studio in the mid 70’s with no knowledge or help. Then I started engineering, making it up as I went along – my only previous experience was operating a Revox tape machine in my bedroom. After the studio had been going for a few months, Dave Robinson (Stiff Records) wanted to record an album there and suggested that he got an engineer in for the first day. That was Phil Brown who, in the space of 12 hours, got the project under way and taught me some invaluable lessons.

The art of band album production is often seen as a bit of a “black art”, what is your take on being successful at it?

You need to have personal taste, be able to get on with people and have good teamwork. Not taking up too much space in the room too by doing what has to be done – tea, driving, jokes, playing, writing, emailing, etc etc. Also giving encouragement to all involved and understanding that it’s not too important, at the end of the day it’s just music!

You’re well known for playing on some of the works you produce, are many producers frustrated artists?

I don’t know many producers and the ones I do know seem to be happy without the need for adulation.

Things really clicked into place when you started working with Trevor Horn and the whole ZTT experience, what are you main memories from that period?

My main memory is WORK! We worked so hard that when FRANKIE GOES TO HOLLYWOOD’s ‘Relax’ went to number one we didn’t celebrate, we just kept at it – it was enjoyable work in a great team though. My other memory is exposure to loads of equipment and having the time to use it.

‘Relax’ took a lot of attempts to perfect, how did the process go from the original (very rough) demo to final product? 

Trevor had done a version with The Blockheads before I started working with him. We then spent ages on a “smart” version which took ages. Then he came in one day and said he wanted to scrap it and start again. That was when the single happened, very quickly, Trevor, JJ Jeczalik, Andy Richards and myself all playing live.

With the exception of Holly Johnson and Paul Rutherford, the rest of FRANKIE GOES TO HOLLYWOOD didn’t actually play on the final released version of ‘Relax’, how did the public react to that?

As far as I know I don’t think anyone knew at the time!

PROPAGANDA’s ‘A Secret Wish’ is still a stunning sounding piece of work, were the demos you received for the album pretty fully formed?

For the most part the demos weren’t finished at all. They were skeletons, which is one of the reasons the album took so long. Michael Mertens, the musician in the band, lived in Düsseldorf. Trevor was working on other projects, so we were very much left to our own devices. Paul Morley was the main person who helped steer the project. My main memory of the album is of working in a black room for months with Andy Richards and loads of gear.

relax12Apparently there were 14 versions of ‘Relax’ and 10 of ‘Dr.Mabuse’ – why go the extra mile and create so many alternative versions?

No-one knew what they were doing at the time and Paul Morley probably kept asking for more and we just kept going!

Do you feel you and Trevor Horn deserve more recognition for pioneering the art of remixing and the alternative version?

No… people who do what we do are, by definition, backroom people. That is a choice and those who want to know can find out…

I believe you were one of the first producers to work using digital recording, how was that experience?

It was a massive relief. There was no hiss, the difference in sound to our ears was wonderful and less EQ was needed. The Sony machines were also really reliable, we tried a Mitsubishi 32 track first but it didn’t work.

Are you a “snob” when it comes to music/studio equipment?

Absolutely not. Just about every piece of equipment is good nowadays, plus you can’t blame the gear any more. Instruments are different of course…

Do you often wish that vocalist-enhancing tools such as Autotune and Melodyne were available back in the day?

Not really. The limitations were good and I miss that, but we can’t turn the clock back, so onwards…

Do you have a favourite post-ZTT artist that you’ve worked with?

It’s hard to say, I enjoy the process of recording so if I were to pick an artist I would base it on personality which isn’t really relevant.

Ultravox brilliant artworkYou produced the ULTRAVOX comeback album ‘Brilliant’, were you a fan of the band before joining the project?

Yes! Also I thought that any band that could write and make the records that they had over the years would be great to work with.

How was the process of working with the band on the album, was it a challenging experience?

Sort of, but it was very fulfilling. They’re lovely guys, but I was amazed that the album didn’t do all that well, I thought it was very good.

Do you have any ideas as to why the album wasn’t more successful?

Not a clue. Maybe it was a lack of money to promote it? Maybe a lack of interest in the band? It’s hard to say.

Today it is far easier for artists to self-produce and record, do you still think the big studio has a place in the current market?

Yes and no. In order to collaborate it’s ideal to be in the same space and this requires more than a home studio. I miss the collaborative aspect of record making but pragmatism must prevail, plus there are rarely any big budgets for projects now.

Does having the internet mean that there is a less of a necessity to travel for certain projects now?

To a certain extent, but a common space is better. It’s an interesting way of working though. I did an album with MIKE OLDFIELD recently, where I was in LA and London and he was in the Bahamas where he lives. For the most part it worked but we did have some strange moments!

Much of your work now involves mixing/producing film scores including with HANS ZIMMER on ‘The Dark Knight Rises’ and ‘Rush’, how does that compare with making band albums?

It was a massive learning experience moving into the film world, but it happened for me at an ideal point. I was getting bored with the predictable song structure and instrumentation of pop music. And I was starting to feel out of touch with the charts. There isn’t much comparison apart from music being the common denominator. Everything in film world is larger – budgets, quantity of music, sounds, personalities, sophistication. But being able to go between the two is amazing as after a while I miss all the things I found boring in pop.

Hans Zimmer StudioIs HANS ZIMMER’s studio as stunning as it looks in photographs?

More so! The pictures don’t show the technical side which is beyond one’s wildest thoughts.

What projects are you currently working on and are they still biased towards the film world?

The film work is definitely biased towards the film world!

Currently I’m working with RONAN KEATING. The 5th album of his I’ve worked on. Also an amazing Japanese artist called HOTEI. In a couple of weeks I’m off to New York to do another movie with Hans.

If you could pick a ‘Desert Island Disc’ track that you are most proud of working on, what would it be?

I have no idea. I’m not truly happy with anything so would probably take something else entirely!


The Electricity Club gives its warmest thanks to Stephen J Lipson

http://www.stevelipson.com/Steve_Lipson/Home.html

http://www.allmusic.com/artist/steve-lipson-mn0000040392


Text and interview by Paul Boddy
21st October 2015